LES BARBUS MÜLLER 
dates unknown (France) 

BIOGRAPHY
Names after the eponyumous Swiss collector Josef Müller, Les Barbus Müller refer to a group of volcanic stone carvings owned by Jean Dubuffet, André Breton and Tristan Tzara. These anonymous bearded figures le Foyer de l'Art Brut and were considered to be among its most important finds. It is generally considered that there were several authors of these neo-pagan works which likely had some original ritual use. 

MIGUEL HERNÁNDEZ
1893 - 1957 (Spain)

BIOGRAPHY
The swirling dreamscapes of this elusive painter were first discovered in a Parisian gallery by art critic Michel Tapié. Hernández was a peasant-born anarchist from Spain, whose formative years in Brazil had helped fashion his radical socialist stance. After a lifetime of frontline activism, Hernández retired to Paris and dedicated himself to painting the memories of his youth and the beloved wife he had lost during their wartime struggles.

ADOLF WÖLFLI
1864 - 1930 (Switzerland)

BIOGRAPHY
The prolific and narcissistic Wölfli is often considered the patron saint of l’Art Brut. Jean Dubuffet discovered his work on an investigative trip to Switzerland, where he met with Dr Walter Morgenthaler, the pioneering physician who published a monograph on his patient-artist. Wölfli’s semi-autobiographical output was fêted by the Surrealists for its dense indecipherable prose, complex musical annotation and ethnological influences.

FLEURY-JOSEPH CRÉPIN 
1875 - 1948 (France)

BIOGRAPHY
Discovered by André Breton, Crépin was a 63-year-old Spiritualist who, like his mentor Victor Simon, had initiated an art practice for the purposes of divine healing. This former plumber claimed that his gridded pointillist architectures were guided by heavenly forces and would collectively foster world peace. They achieved their goal when the war ended in 1945. Their maker died three years later, having produced over 350 paintings.

ALOÏSE CORBAZ
1886 - 1964 (Switzerland)

BIOGRAPHY
The sensual drawings, paintings and murals of the ubiquitous Corbaz were brought to Jean Dubuffet’s attention by Jacqueline Porret-Forel, a young doctor at a Swiss psychiatric clinic. The oeuvre speaks of a mysterious and seemingly autobiographical love-affair, often in the form of books or folded sheets, and features unusual materials such as petals and packaging, delicately sewn into the artwork to create a unique form of collage.

GASTON CHAISSAC
1910-1964 (France)

BIOGRAPHY
Chaissac was a farmer, handyman and artist who spent much of his life in rural France. His writing attracted the attention of Jean Paulhan and Raymond Queneau and he went on to produce a substantial body of visual material, including drawings, paintings and sculptures. Chaissac saw himself as a modern folk artist and this led to a gradual rift with Dubuffet, who considered the work too informed simply to be defined as Art Brut.

GEORGE E OHR
b 1857 (USA)

CLICK HERE FOR AVAILABLE WORKS

BIOGRAPHY

OHR’s originality deserves a place among the artist’s greatest contemporaries - Thomas Eakins, Albert Pinkham Ryder, Louis Sullivan, Marsden Hartley, Alfred Stieglitz and perhaps even Frank Lloyd Wright.

Roberta Smith, New York Times


In the late 1800s, self-taught potter GEORGE E OHR revolutionised pottery.

From his home in coastal Mississippi, this eldest son of Alsatian immigrants developed an all-consuming practice and persona. OHR’s clay pots were precise and prolific. Their radical shapes and modern glazes marked an important shift in three-dimensional vessel making. As a body of work, they challenged not only the art establishment, but the cultural conventions of their day.

Yet OHR’s proto-abstract experiments proved too unpalatable for local taste. Throughout his lifetime, the entrepreneurial Mad Potter of Biloxi was ignored and his legacy unrecorded in the history of American art.

That changed seventy years later when the oeuvre was rediscovered by his descendants. Heralded as an unsung pioneer of modernist making, OHR was soon being collected and championed by David Whitney, Andy Warhol, Robert Rauschenberg and Jasper Johns. The latter was so enamored of the delicacy of OHR’s material form, he repeatedly depicted the work in his paintings.

Posthumously embraced by his peers, OHR and his pots now found their place in the Western canon. They reached a wide audience through the collections of the Metropolitan Museum of Art and the Smithsonian Museum. Frank Gehry designed a museum in OHR’s hometown of Biloxi in Mississippi. More recently, over thirty works were exhibited as part of a contemporary installation at the Carnegie International in Pittsburgh in 2013.

In her 1989 New York Times review, the critic Roberta Smith wrote:

OHR invented his own brand of beauty, one so innately modern that it’s easy to understand why he wasn’t more appreciated in his own time. His liberations of color and form move beyond Art Nouveau and the Arts and Crafts Movement - with which his work has obvious links - and points toward the present. In particular, his exquisite, constantly shifting balances of randomness and control convey a kind of three-dimensional Automatism that presages ideas basic to Surrealism and Abstract Expressionism. And in a way that seems both modern and close to the experience of painting, OHR invites the viewer to rehearse the pleasure and release he felt in making his pots.

Roberta Smith, New York Times

 

When I’m gone, my work will be prized, honoured and cherished.

GEORGE E OHR, artist

 

Literature

George Ohr Sophisticate and Rube, Ellen J. Lippert (Mississippi) 2013

George Ohr The Greatest Art Potter on Earth, Eugene Hecht (Skira Rizzoli) 2013

The Mad Potter George E Ohr Eccentric Genius, Jan Greenberg and Sandra Jordan (Neal Porter) 2013 

American Masters of The Mississippi Gulf Coast : George Ohr, Dusti Bongé, Walter Anderson, Richmond Barthé, Patti Carr Black (Mississippi) 2009

George Ohr, Art Potter The Apostle of Individuality, Robert A. Ellison Jr. (Scala) 2006

Pottery, Politics, Art, George Ohr and the Brothers Kirkpatrick, Richard D. Mohr (University of Illinois) 2003

After the Fire George Ohr: An American Genius, Eugene Hecht (Arts and Crafts Quarterly) 1994

The Mad Potter of Biloxi The Art and Life of George E Ohr, Garth Clark, Robert A. Ellison, Jr. and Eugene Hecht (Abbeville) 1989

Exhibitions

George Ohr, Craig F Starr Gallery (New York) 2015

Pierre Legullion featuring George Ohr, Carnegie International (Pittsburgh) 2013

A Secret History of Clay, Tate Liverpool (Liverpool) 2004

Up Front: George E Ohr, Mill College Art Museum (California) 2001

George Ohr Modern Potter, Smithsonian Museum (Washington) 1990

George Ohr: Modern Potter, American Craft Museum (New York) 1989

George Ohr, Mississipi State Historical Museum (Mississippi) 1978

BOB PARKS
b 1947 (UK)

CLICK HERE FOR AVAILABLE WORKS

CLICK HERE FOR THE EXHIBITION

BIOGRAPHY
Known for his provocative durational performances, British-born artist BOB PARKS is on a lifetime search for the truth. Ancient cultures, military dictatorships, method acting, gospel music and his own late mother form the heart of his all-encompassing gesamtkunstwerk. Yet it was last yearʼs acclaimed BBC documentary, The R&B Feeling, which propelled the 70 year old wunderkind into the limelight.

Born in Southhall, BOB PARKS studied art at Leicester University before moving to Los Angeles in the 1970s. His immersion in West Coast performance art brought him to the attention of contemporaries like Chris Burden and Paul McCarthy; but it was his study of Konstantin Stanislavski at the Lee Strasberg Theatre Institute and Actor’s Studio which led him to fuse his daily life with a radical and pseudo-fictional version of himself.

In 1974 PARKS embarked on a series of citywide actions in the persona of an absurdist alter-ego, Bignose. Inspired by Indian mystic philosophy, the character alternated mundane rituals with verbal hysterias, while dressed in a yogic thong and playing an amplified fife. The performance was called: The hypocrisy of clothed men, painting naked women in Renaissance times, behind closed doors. It brought him to the attention of the infamous Chuck Barris, who invited him to perform on The Gong Show.

Holding down a series of menial jobs, PARKS became involved with South Centralʼs Starlight Church of God in Christ, where the African-American community introduced him to gospel and soul music, inspiring him to produce a series of portraits which revealed PARKS as a profound painter and image maker.

Shows in Australia, Europe and the UK were to follow. Yet at the age of 40, PARKS left Los Angeles (pop. 18 million) and returned to his parents’ home in Sway (pop. 3,448). He joined a local congregation, where his spiritual and creative practices became ever more interconnected.

In recent years, PARKS was included in 3rd Leggg at London’s ICA in 2011, and presented in a solo show at Grand Union in Birmingham in 2013. In 2016, BOB PARKS’ life and work was profiled in The R&B Feeling, co-directed by contemporary artist Nathaniel Mellors.

The Gallery of Everything is proud to present BOB PARKS’ first major UK retrospective, with paintings, drawings, sculpture and screenings which draw on his astonishing 40 year practice. The artist will be present throughout, giving performances every Sunday afternoon in the gallery.

He was unique, he wanted to lose control and to see what would happen.

John Duncan, artist

BOB is a great artist and impossible to emulate with-out living his life - but he is genuinely inspirational. At a time when there’s an excess of influence and a lak of inspiration, BOB PARKS is a kind of antidote.                                                      

Nathaniel Mellors, artist

The embodiment of extraordinary!                         

Cheryl Jones, Grand Union (Birmingham)

If performance art were a competitive team sport, tal-ent scouts would recognise in the British performance artist, painter and musician BOB PARKS that most lucrative and rare of qualities: natural ability. In his impulsive, unsettling and rapturous work, there is an easy, unaffected pairing of art and everyday life.                          

Morgan Quaintance, Frieze Magazine

We began to think, I don’t know, this guy is pretty weird.       

Barbara T Smith, artist

 

FRANCIS MARSHALL 
b 1946 (France)

Biography
Living on the outskirts of Paris, FRANCIS MARSHALL’s mysterious practice is inextricably intertwined with his unconventional life. Working over forty-years to create a society of more than four-hundred figurative sculptures, his oeuvre exists in a world of its own.

MARSHALL’s stuffed objects and figures are made from pieces of wood, rags, old nylons, discarded bicycles, radios, cupboards and debris found on the banks of the River Seine. His is the material of the discarded, a world of apparent darkness, filled with dystopian humour. His population are assembled in familiar quotidian scenes, they collapse into splintered furniture, they arrange themselves around kitchen tables. Yet in this world of dilapidation, there is levity and charm, it captivates and lures us into spending time in the company of this strangely comforting country cast.

Faces smile up from slumped bodies and peek through cupboard doors, an obedient dog waits for his grinning master and old shoes sit in neat lines as bundles of discarded clothes tumble from mouldy shelving. A tree of poetic musings points to nowhere, as a haggard girl makes off on a bright pink bicycle.

Championed by Alain Bourbonnais, the legendary founder of La Fabuloserie, MARSHALL’s work was first made public in 1973 at Atelier Jacob in Paris. Since then he has been exhibited at the Musee d’Art Modern (France), The American Visionary Art Museum (USA) and at Hayward Gallery in the seminal Outsiders exhibition in 1979.

MARSHALL’s works are included in collections internationally as well as in The Museum of Everything.

JOHNSON WEREE
B 1970 (Liberia)

Biography
Through the eyes of the visionary refugee artist JOHNSON WEREE, all are beautiful. Working from a community library and living without a permanent home, WEREE’s practice involves drawing from early morning until late at night creating surreal and otherworldly portraits of imagined subjects.

As child in Liberia WEREE salvaged discarded materials for his creations. Using battery fluid for paint and scrap wood for canvass, his limited access to media made him come to cherish colour. Now he works with ballpoint pens, gels, pencils and pastels with a palette of unlimited vibrancy.

WEREE’s subjects stare unapologetically from the paper, arresting the viewer with their confident piercing eyes. Dog noses sit close to thin lips and mens’ hairlines recede. The woman of WEREE’s world have bright blushed cheeks and wear multi-coloured eye shadow. Often figures appear within figures, emerging from buttonholes or like a third-eye in the centre of a forehead.

WEREE’s pictures are unlike any others. Though they may follow the composition of traditional portraiture they are unencumbered by it’s limitations.

Looking at WEREE’s work my be akin to confronting a mirror that reveals an alternate reality. One where we are confident and bold, dressed like kings and queens - a world of irrepressible beauty.

WEREE’s works are in private collections and have been exhibited internationally by The Museum of Everything.

MORE ARTISTS

GIOVANNI GALLI
IRÈNE GERARD
WC RICE
WILLIAM SCOTT
TOMOYUKI SHINKI

Ion Bârlādeanu
B 1946 (Romania)

Biography
Born in Zăpodeni, Romania in 1946, ION BÂRLĀDEANU worked as a farmer, docker, security guard and grave-digger, before becoming a full-time artist. Although he had been creating satirical drawings and collages from a young age, it was the Romanian Revolution of 1989 which really brought his creative practice into the light.

The long reign of militant communist leader Nicolae Ceausescu was an era of extreme censorship, draconian politics and state violence. It was during this time that BÂRLĀDEANU began his oeuvre, assembling subversive commentaries and illustrating them with collage and caricature. If discovered, this sarcastic imagery could have led to BÂRLĀDEANU's imprisonment; yet he continued to make, ignoring any fears of incarceration.

The execution of Ceausescu and the subsequent fall of Communism both liberated and crippled the country, as hundreds and thousands of manual labourers found themselves without work. For BÂRLĀDEANU, the lack of employment brought with it a freedom. Technically homeless, what he had was time; and so he would spend his days sifting through discarded newspapers and magazines for imagery to assemble into film-stills.

BÂRLĀDEANU’s collages should be considered as a filmography. They employ many of the formal properties of film: they are presented in Cinemascope (2.35:1), use Hollywood stars wherever possible, and are constructed on miniature sets, where the actors are organised in dynamic action and against epic backdrops.

In BÂRLĀDEANU’s oeuvre, hypocrisy is punished and the humanist spirit prevails. The world is in the midst of chaos, be it the fall of the Soviet regime, or the influx of pop culture and capitalism. His is a dense drama of triumph and fall, where cigarettes are the currency and every argument is settled with a bottle or a gun.

It was a chance meeting with contemporary curator Dan Popescu which brought BÂRLĀDEANU into the public eye. He has since been the subject of numerous group and solo shows, including the 2015 Vienna Biennale and The Museum of Everything at Kunsthal Rotterdam in 2016. BÂRLĀDEANU’s work has been featured in The Guardian and Vice Media and is included in numerous international collections.

His collages are in numerous international collections, including Emilian Radu Collection (Romania) and La Collection Antoine de Galbert (France).

Literature

 Artistul la Treizeci de ani, Dan Popescu, Alexandru Davidian (Arcub, Bucharest) 2016

...de porc, Erwin Kessler (Bucharest, Cluj) 2010

RealPolitik, Dan Popescu (H'art Gallery)  2007

Exhibitions

EXHIBITION #6, THE KUNSTHAL OF EVERYTHING (Rotterdam) 2016

Ion Bârlādeanu: Against All Odds MUU Gallery (Helsinki) 2015

Harald Stoffers
B 1961 (Germany)

Biography
The intimate testimonies of HARALD STOFFERS reveal the graphic inner life of a non-stop conceptual art-maker. Addressed to the mother with whom he still shares his primary relationship, these edgy abstracted texts adapt the conventions of letter-writing into a lifelong practice of tiny paper shavings and vast confessional scrolls.

There exists in HARALD STOFFERS' work, an intellectual and emotional interchange. It combines strict formal parameters with fluid aesthetic decisions. Through repetition and permutation, the artworks long to perfect a system which addresses the artist’s needs to specific correspondents. However the letters themselves are never sent.

STOFFERS provokes viewers into thinking about language in a different way. To see his works, without reading or understanding their meaning, is a poetic and hypnotic act. Yet their form reflects, and is in fact derived specifically from, their content. In observing how the artist often cuts and pastes key passages, or affords space to particular sentences, or crams phrases together until they form clouds of dense inky mass, the disruption of what we expect to understand is constant and disassociating. Only the question is clear: with whom is STOFFERS is seeking to communicate?

HARALD STOFFERS has major works included in a number of collections, including The Sackner Archive of Concrete and Visual Poetry (US), ABCD Collection (FR) and The Museum of Everything (UK). 

Literature

Back In Town, Peter Heidenwag & Corinna Koch (Textem Verlag) 2014

Le Mur, Antoine de Galbert (Fage) 2014

Everything #4, The Museum of Everything (Everything) 2011

Mehr Als Zu Viel, Peter Heidenwag & Corinna Koch (Textem Verlag) 2011

Harald Stoffers: Letters, Peter Heidenwag (Textem Verlag) 2011

Reflexion Von Sprache Bei Harald Stoffers, Peter Heidenwag (Textem Verlag) 2011

Everything #1, The Museum of Everything (Electa/Mondadori) 2010

Exhibitions

Exhibition #6, The Museum of Everything (Rotterdam) 2016

Mixed Company, Freitagssalon (Hamburg) 2015

Art Brut Live, Dox Centre for Contemporary Art (Prague) 2015

Le Mur, La Maison Rouge (Paris) 2014

Back In Town, Kunsthaus Jesteburg (Hamburg) 2014

Deep In The Countryside, Kunsthaus Jesteburg (Hamburg) 2013

Exhibition #4, The Museum of Everything (London) 2011

Exhibition #1, The Museum of Everything (London/Turin) 2009/10

Nigel Kingsbury
1949- 2016 (Britain)

Biography
The figurative oeuvre of NIGEL KINGSBURY employs apparently simple mark-making to create an ethereal and effortless community. These female forms are based on the women who were close to the artist, those who cared for him and those for whom he cared, effortlessly transformed by pencil and time into mighty gestures of love.   

KINGSBURY’s practice was meticulous. The artist initially worked in colour, using TV stills of iconic personalities, contained in a small-scale format. Only later did he shift to the women who surrounded him in daily life. At this point his use of line became more fluid. He juxtaposed loose gestures with short stabs of the pencil. Eraser marks started to reveal sections of drawings as portraits were worked and reworked.

As the scale increased, so the artist afforded himself greater freedom and sensitivity. A compositional balance took shape, with figures morphing into abstraction, and the marks of a dress or the strands of a figure’s hair becoming complex and entangled landscapes in and of themselves. Ironically, as they evolved, his small-scale work refined and intensified, with faces becoming subtle to the point of near-transparency. 

Although KINGSBURY’s work has been exhibited in Britain, most notably at Studio Voltaire in London, his work is rarely available for sale. It is included in a number of collections, including Pallant House (Sussex) and The Museum of Everything.

Literature

Everything #2, The Museum of Everything (Everything) 2010

Exhibitions

Jerwood Drawing Prize, Tour (Cheltenham, Canterbury & Falmouth) 2016

Jerwood Drawing Prize, Jerwood Space
(London) 2015

Pen & Art, Pen Station Museum (Tokyo) 2013

The Inner Self: Drawings from the Subconscious, CGP (London) 2014

Side by Side, Southbank Centre (London) 2013

Outside In, Pallant House Gallery (Sussex) 2012/13

Everything #2, The Museum of Everything 
(London) 2010

Hiroyuki Doi
B 1946 (Japan)

Biography
HIROYUKI DOI is a Japanese draughtsman whose concentric mappings form a meditated response to the loss of his brother. These monochromatic and often mesmeric essays take up to three months to complete, for they serve to honour the memory of a relationship which only continues in this, its newly discovered form. 

HIROYUKI DOI’s art suggests both a modest materiality and an expansive interior. Its inhabited truth is a reflection of artist and viewer. It speaks of the complexities of our interpersonal relationships and presents itself as a means to transcend them.

DOI alludes to this subject-matter as the soul. The migration of human dialogue and the co-existence of all living creatures are transformed in these handmade objects. As artworks they communicate insight to a future generation. For in seeking a dialogue with an absent sibling, it appears that DOI has not only discovered an infinite number of conversations, but a practice which undertakes their universal and eternal delivery.

DOI’s works are housed in public and private collections worldwide, including The American Folk Art Museum (US), La Fondation Antoine de Galbert (FR), John Michael Kohler Arts Centre (US), Louis-Dreyfus Family Collection (US), Menil Collection (US), The Museum of Everything (UK) and Pilot Corporation (JP).

Literature

As Essential as Dreams - Michelle White, Lynne Adele, Brooke Davis  Anderson, Haley Berkman, David Breslin (Yale University Press) 2016

Exhibition #1, The Museum of Everything (Mondadori/Electa) 2010

Exhibitions

Escape Routes, John Michael Kohler Arts Center (Sheboygan) 2016/2017

As Essential as Dreams, The Menil Collection (Houston) 2016

Hiroyuki Doi, Pen Station Museum (Tokyo) 2013/14/15

Exhibition #1.1, The Museum of Everything 
(Paris) 2012

Jubilation/Rumination, AFAM (New York) 2012

Exhibition #1, The Museum of Everything (London/Turin) 2009/10

Je collectionne, La Maison Rouge (Paris) 2009

Éloge du dessin, Halle Saint-Pierre (Paris) 2008

WILSON BENTLEY
1865-1931 (AMERICA)

BIOGRAPHY
An entrepreneurial Vermont farmer and micro-pioneer, Wilson Snowflake Bentley dedicated his life's work to photographing a five-thousand strong army of eternalised snow crystals.

It was the scientific abstractions of this pioneering image-maker which led to a greater understanding of the uniqueness, importance and beauty of this natural form. Yet Bentley was far more than a passionate hobbyist. He was an adventurer who realised the potential of microphotography and used it to capture the impossible individuality of each and every snowflake.

Now, over a hundred years later, Bentley's achievements are finally gaining traction not only as science, but as art. He was celebrated with a showcase in THE KEEPER - an exhibition dedicated to the collecting and hoarding at the New Museum in New York (20.07.16 - 02.10.16) and also featured in the first significant show of Bentley in the UK at The Gallery of Everything

Literature

SNOWFLAKE MAN, Duncan Blanchard (McDonald and Woodward) 1998

SNOWFLAKE BENTLEY, Gloria May Stoddard (New England Press) 1985

WILSON BENTLEY, Douglas Prior (Arizona State University) 1984

SNOW CRYSTALS, WILSON A. BENTLEY AND WILLIAM J. HUMPHREYS (MCGRAW HILL) 1931

Exhibitions

The Keeper, New Museum (New York) 2016

EXHIBITION #6, THE KUNSTHAL OF EVERYTHING (Rotterdam) 2016

WC RICE 
1930-2004 (AMERICA)

BIOGRAPHY
William Carlton Rice was a house painter and self-ordained minister whose single performative gesamtkunstwerk was the conversion of his land into the sprawling Cross Garden. The rough-painted crucifixes and jagged signs foretold imminent apocalyptic punishment for all who dared transgress, in language as fast and loose as that of their maker.

Literature

Sacred and Profane, Carol Crown and Charles Russell (University Press of Mississippi) 2007

Self Taught: A Guide to American Artists, Locations and Resources, Betty-Carol Sellen (McFarland) 2000

Exhibitions

EXHIBITION #1.1, THE MUSEUM OF EVERYTHING (Paris) 2012-13

EXHIBITION #1, THE MUSEUM OF EVERYTHING (LONDON + TURIN) 2009/10

NEK CHAND SAINI 
1924-2015 (INDIA)

BIOGRAPHY
The Indian figurative sculptor, recycler and landscape architect, Nek Chand Saini's informal art environment in India, encompassing two square miles of walkways and populated assemblies, is known as the Rock Garden of Chandigarh.

Despite an immeasurably high attendance of over 10,000 daily, its recently-deceased creator never regarded himself as an artist. Nor did he see the unauthorised land-grab which formed the basis of his monumental artwork as a political gesture. Yet its radical organic form and content remains a playful contrast to the concrete structures and modernist city-plan designed by that disruptive visionary architect, Le Corbusier.

Literature

THE CATALOGUE OF EVERYTHING #6, THE MUSEUM OF EVERYTHING 2016

THE CATALOGUE OF EVERYTHING, THE MUSEUM OF EVERYTHING 2010

Nek Chand, Lucienne Peiry and Philippe Lespinasse (Flammarion) 2005

Vernacular Visionaries, John Maizels (Yale University Press) 2003

Spontaneous alternatives, Colin Rhodes (Thames & Hudson) 2000

Raw Creation, John Maizels (Phaidon) 2000

Fantasy Worlds, John Maizels (Taschen) 1999

Contesting Boundaries, Vera Zolberg and Joni Maya Cherbo (Cambridge University Press) 1997

Parallel Visions, Maurice Tuchman and CE Eliel (LACMA) 1992

Nek Chand, Bennett Schiff (Smithsonian 15) 1984

Exhibitions

Nek Chand, Architecture Biennale (Venice) 2016

Nek Chand, Pallant House (Chichester) 2015

Raw Vision, Halle Saint Pierre (Paris) 2014

ALTERNATIVE GUIDE TO THE UNIVERSE, HAYWARD GALLERY (London) 2013

EXHIBITION #1.1, THE MUSEUM OF EVERYTHING (Paris) 2012-13

EXHIBITION #1, THE MUSEUM OF EVERYTHING (LONDON + TURIN) 2009/10

Nek Chand, RIBA (Liverpool) 2007

Kingdom of Nek Chand, Collection de l’Art Brut (Lausanne) 2005

HOWARD FINSTER
1916-2001 (USA)

Biography
Commanded by above to paint sacred art, Howard Finster embarked on a 25 year pop crusade, anointing tens of thousands of available surfaces with visionary beliefs and unmistakable aphorisms. Fêted by the likes of Talking Heads, this former TV and bicycle repairman went on to become the most celebrated autodidact in America.

Literature

THE CATALOGUE OF EVERYTHING #6, THE MUSEUM OF EVERYTHING 2016

THE CATALOGUE OF EVERYTHING, THE MUSEUM OF EVERYTHING 2010 

THE ARTIST, Michel Hall and Eugene Metcalk (Smithsonian Institution Press) 1994

SIGNIFICANT OTHERS, KEN JOHNSON (ART IN AMERICA) JUNE 1993

INSIDE THE OUTSIDERS, ELEANOR GAVER (ART & ANTIQUES) SUMMER 1990

MADE WITH PASSION, LYNDA ROSCOE HARTIGAN (SMITHSONIAN INSTITUTION PRESS) 1990

HOLY ART! DAVID HANDELMAN (ROLLING STONE) 20th APRIL 1989

HOWARD FINSTER, JOHN TURNER (KNOPF) 1989

HOWARD FINSTER, TOM PATTERSON (ABBEVILLE PRESS) 1989

HOWARD FINSTER, LIZA KIRWAN (ARCHIVES OF AMERICAN ART JOURNAL, 28:2) 1988

MADE IN U.S.A, SIDRA STICH (UNIVERSITY OF CALIFORNIA PRESS) 1987

Exhibitions

EXHIBITION #1.1, THE MUSEUM OF EVERYTHING (Paris) 2012-13

STRANGER IN PARADISE: THE WORKS OF REVEREND HOWARD FINSTER, MUSEUM OF CONTEMPORARY ART (JACKSONVILLE) 2011

STRANGER IN PARADISE: THE WORKS OF REVEREND HOWARD FINSTER, CHICAGO CULTURAL CENTER (CHICAGO) 2010

EXHIBITION #1, THE MUSEUM OF EVERYTHING (LONDON + TURIN) 2009/10

OUTSIDER ART, TATE BRITAIN (LONDON) 2005-2006

CONTEMPORARY CUTOUTS, WHITNEY MUSEUM (NEW YORK) 1988

PARADISE LOST / PARADISE REGAINED, 42ND VENICE BIENNALE (VENICE) 1984

THE REVEREND HOWARD FINSTER, NEW MUSEUM (NEW YORK) 1982

CHOMO
1907-1999 (FRANCE)

BIOGRAPHY
Painter, sculptor, filmmaker and performer, Chomo (Roger Chomeaux) was a multi-disciplinary art school alumni who withdrew from cultural society to build an organic art environment in the woods outside Paris. As his prolific experimentation blossomed, so he forefully rejected all attempts to objectify or commercialise his lifelong search for truth.

Although formally trained, the artist renounced art society and secluded himself and his practice in a cabin in the woods. Visitors were regularly denied access so that this self-mythologising master could continue his practice of making, doing and being. Chomo's oeuvre includes burnt-wood sculptures, paintings of a Philip K Dick-ian parallelism and artificial stone sculptures that seem to imply a futurist archaeology. 

From the moment an artist puts his soul in his work, it’s priceless.
CHOMO
Artist

Literature

Spontaneous alternatives, Colin Rhodes (Thames & Hudson) 2000

Raw Creation, John Maizels (Phaidon) 2000

Exhibitions

Chomo, Halle Saint-Pierre (Paris) 2009

WILLIAM SCOTT
b 1964 (USA)

BIOGRAPHY
William Scott is a highly skilled self-taught artist whose commercially appealing imagery retells a high-rise future for his impoverished low-rent childhood past.

Literature

THE CATALOGUE OF EVERYTHING #6, THE MUSEUM OF EVERYTHING 2016

William Scott: Painting Utopia, Tom di Maria, Epidemiology and Psychiatric Sciences Journal (Cambridge University Press) 2016

William Scott, The Alternative Guide to the Universe, Ralph Rugoff (Hayward Publishing) 2013

Create, Kevin Killian, Lawrence Rinder and Matthew Higgs (UC Berkeley Art Museum) 2011

EVERYTHING #4, THE MUSEUM OF EVERYTHING 2011

EVERYTHING #1, THE MUSEUM OF EVERYTHING
(ELECTA) 2010

One is Adam One is Superman, Leon Borensztein & Tom di Maria (Chronicle Books) 2004

Exhibitions

Exhibition #6, The Museum of Everything (Rotterdam) 2016

March Madness, Fort Gansevoort (New York) 2016

Extra Celestial, Crosstown Arts (Memphis) 2015

40 Years: Dan Miller & William Scott, Creative Growth Art Center (Oakland) 2013

We The People, Robert Rauschenberg Project Space (New York) 2013

Create, Boca Raton Museum of Art (Florida) 2013

Different and Special, Gyeonggi Museum of Modern Art (Gyeonggi-do) 2012

EXHIBITION #4, THE MUSEUM OF EVERYTHING
(LONDON) 2011

From One Revolution To Another, Palais de Tokyo (Paris) 2008

How to Build a Universe That Doesn’t Fall Apart Two Days Later, CCA Wattis Institute (San Francisco) 2006

Leon Borensztein and His Friends, Yerba Buena Center for the Arts (San Francisco) 2005

DAN MILLER
B 1961 (USA)

Biography
Dan Miller's art reflects his perceptions through the gradual repetition of letters and words, drawn, painted or typed, building to the point of formalist abstraction. Letters and words are repeatedly overdrawn, often creating ink layered masses, hovering on the page and built up to the point of obliteration or destruction of the ground. Each work contains the written recording of the artist’s obsession with objects like light bulbs, electrical sockets, food and the names of cities and people. Miller's work is included in the permanent collection of the Museum of Modern Art, New York.

Literature

THE CATALOGUE OF EVERYTHING #6, THE MUSEUM OF EVERYTHING 2016

Autism in a Decentered World, Alice Wexler (Routledge) 2016

EVERYTHING #4, THE MUSEUM OF EVERYTHING 2011

EVERYTHING #1, THE MUSEUM OF EVERYTHING 
(ELECTA) 2010

One is Adam One is Superman, Leon Borensztein & Tom di Maria (Chronicle) 2004

Exhibitions

Exhibition #6, The Museum of Everything (Rotterdam) 2016

dRAW, Intuit Museum (Chicago) 2016

Dan Miller and Judith Scott, Kentucky Museum of Art (Louisville) 2013

Create, Boca Raton Museum (Boca Raton) 2013

Dan Miller and Judith Scott, Aldrich Contemporary Art Museum (Ridgefield) 2013

EXHIBITION #4, THE MUSEUM OF EVERYTHING
(LONDON) 2011

In The House, Mad Musée (Leige) 2010

EXHIBITION #1, THE MUSEUM OF EVERYTHING (LONDON + TURIN) 2009/10

Glossolalia: Languages of Drawing, Museum of Modern Art (New York) 2008

Tomoyuki Shinki
B 1982 (Japan)

Biography
A combat sports fanatic whose hysteric grapplers squash bodies in fondly remembered CG matches and across vast scrolls of densely inked paper.

Literature

THE CATALOGUE OF EVERYTHING #6, THE MUSEUM OF EVERYTHING 2016

EVERYTHING #4, THE MUSEUM OF EVERYTHING 2011

Exhibitions

Exhibition #6, The Museum of Everything (Rotterdam) 2016

Exhibition #1.1, The Museum of Everything 
(Paris) 2012/2013

Exhibition #4, The Museum of Everything 
(London) 2011

Hamamatsu Municipal Museum of Art
(Shizuoka) 2010

Egaku, Nariwa Museum (Okayama) 2009

Puroresuman – Professional Wrestling Man, National Art Center (Tokyo) 2008

Suntory Museum (Osaka) 2008

21st Century Museum of Contemporary Art (Kanazawa) 2006

Irène Gerard
B 1958 (Belgium)

Biography
The human form is the starting point for this internationally celebrated artist, who is inspired by images from history and re-contextualises them as her own.

Literature

L’Art Brut Belge d’Aujourd’hui Retrospective Psycart, Cornette de Saint-Cyr (Brussels) 2016

EVERYTHING #4, THE MUSEUM OF EVERYTHING 2011

Exhibitions

Exhibition #4, The Museum of Everything 
(London) 2011

Giovanni Galli
B 1954 (Italy)

Biography
Giovanni Galli is a comic book converter whose conspiracy theory universe of war-weapons and space-rockets has liberated him to idolise ample ageing starlets in beloved tight-fitting lingerie.

Literature

EVERYTHING #4, THE MUSEUM OF EVERYTHING 2011

EVERYTHING #1, THE MUSEUM OF EVERYTHING
(ELECTA) 2010

Outsider Art in Italia, Bianca Tosatti (Skira) 2003

Exhibitions

Palazzo Strozzi (Florence) 2015

Banditi dell'Arte, Halle St-Pierre
(Paris) 2012/2013

Kunsthaus Kannen (Münster) 2012

E’ Tutto Vero, L.u.C.C.A Lounge & Underground (Lucca) 2011

Exhibition #4, The Museum of Everything 
(London) 2010/2011

S’envoyer en l’air, Mad Musée (Liège) 2007

Alan Constable
B 1956 (Australia)

Biography
Born in Melbourne, Australia, in 1965, ALAN CONSTABLE is multi-disciplinary art-maker whose prolific output includes drawings, paintings and sculptures. His two-dimensional works appropriate imagery found in newspapers and magazines, sometimes with a political or social aspect. Yet it is his iconic ceramic sculptures which have propelled him to international acclaim.

Constable’s theme is the camera; his oversized clay replicas reflect a lifelong fascination with visual technology. Some are household brands: Leica, Canon, Rolleiflex, Nikon and Konica. Others are large formats, lesser-known Eastern European models or discontinued lines. There are movie cameras (both Super 8mm and 16mm), slide projectors, binoculars and telescopes.

The architecture of the original object determines the proportions of the sculpture.
Constable’s process interprets the utilitarian designs and abstracts them. As the oversized structures sag and collapse, so his fingerprints remain in the clay. They give the cameras their personality and connects them to a thousand year history of hand-made ceramic objects.

Profound philosophical questions are contained within each artwork.
Constable himself is legally blind, meaning that his eyes do not provide him with adequate sight. Similarly, the function of these cameras is not photographic. If they do not see the world, do they ask their audience to consider perception without vision? Or simply through touch? Constable does not say.

Constable has been based at the Arts Project Australia studio in Melbourne for 25 years. Through their advocacy, his work is now in significant public and private collections, including the National Gallery of Victoria (Australia). Exhibitions include The Museum of Everything in London in 2011 and Rotterdam in 2016.  

Literature

The Catalogue of Everything, The Museum of Everything 2016

Melbourne Now Limited Edition, (National Gallery of Victoria) 2014

Alan Constable Viewfinder, Dr. Cheryl Daye (Northcote) 2011

Everything #4, The Museum of Everything 2011

Pearls of Arts Project Australia, John McDonald (Collingwood) 2007

The Inner View, Dr. Cheryl Daye (Arts Project Australia) 1998

Exhibitions

Exhibition #6, The Museum of Everything (Rotterdam) 2016

Renegades: Outsider Art, The Arts Centre Gold Coast (Queensland) 2014

Melbourne Now, National Gallery of Victoria (Melbourne) 2014

Polaroid Project, Horsham Regional Art Gallery (Horsham) 2014

Viewfinder: Alan Constable Survey, Arts Project Australia (Melbourne) 2011

Exhibition #4, The Museum of Everything
(London) 2011

Connected 09: Black Box, Victorian Arts Centre (Melbourne) 2009

Bloodlines: Art and the Horse, QUT Art Museum (Brisbane) 2009

JOSEF KARL RÄDLER
1844-1917 (AUSTRIA)

In Rädler I felt I had glimpsed another world, another mind,
an intensity of purpose and imagination of which I am not capable.

Brian Sewell, Evening Standard 

Biography
Josef Karl Rädler was a turn-of-the-century autodidact whose compelling canon of double-sided watercolours document life at the pioneering Mauer-Öhling open-air hospital. It was there that this once-successful entrepreneur transformed himself into The Court Painter of Austria, Siam and Italy, an astounding portraitist whose depictions of fellow inmates startle with serenity and silence.

Rädler’s oeuvre celebrates these forgotten many, harrowed by the bloodiest of wars. He studies them as the seasons shift, seeking comfort in the daily routine and the camaraderie of an evening card-game. Dazzling passages of text, poetry and dogma decorate every edge, showing off the au-thor’s extensive knowledge of literature and his growing fascination with Freudian trends.

Strange to think that Rädler remained outside art history until a body of his material was uncov-ered in the mid-1960s. Since then, his reputation has evolved and he is today considered one of the great finds of early 20th century European art. The frontal figuration of this self-appointed phi-losopher-poet-pacifist is clearly a contemporary aesthetic whose star is destined to shine.

Recent shows include Madness and Modernity at the Wellcome Collection, London (2009) and Sleepless at the Belvedere Palace, Vienna (2014). The Gallery of Everything will present a rare se-ries of portraits and landscapes, accompanied by performances of the artist’s acrobatic songs.

Literature

CATALOGUE OF EVERYTHING #6, THE MUSEUM OF EVERYTHING 2016

ACCIDENTAL GENIUS, LISA STONE (MILWAUKEE ART MUSEUM) 2012

EVERYTHING #1, THE MUSEUM OF EVERYTHING
(ELECTA) 2010

MADNESS AND MODERNITY: JOSEF KARL RÄDLER, LUKE HEIGHTON (LUND HUMPHRIES) 2009

JOSEF KARL RÄDLER (1844-1917), LEO NAVRATIL (NIEDERÖSTERREICHISCHES LANDESMUSEUM WIEN im HERBST) 1994


 

Exhibitions

SLEEPLESS, BELVEDERE PALACE (VIENNA) 2015

ACCIDENTAL GENIUS, MILWAUKEE ART MUSEUM, 2012

EXHIBITION #1.1, THE MUSEUM OF EVERYTHING, CHALET SOCIETY (PARIS) 2012

EXHIBITION #1, THE MUSEUM OF EVERYTHING (LONDON + TURIN) 2009/10

MADNESS AND MODERNITY, WELLCOME COLLECTION (LONDON) + WEIN MUSEUM (VIENNA) 2009

JOSEF KARL RÄDLER, LANDESMUSEUM NIEDEROSTERREICH (ST. POLTEN) 1994

MARTÍN RAMÍREZ
1895-1963 (MEXICO)

Ramírez is simply one of the greatest artists of the 20th century. The more we know, the
clearer it becomes that we are just beginning to fathom his extraordinary achievement.

ROBERTA SMITH, NEW YORK TIMES

Biography
Cited by many as the most influential of self-taught American modernists, Martín Ramírez assembled not just one of most significant bodies of material in the 20th century canon, but one of the foremost by any Latin American artist of any era.

This achievement is all the more profound if one considers the context. Ramírez was just one of thousands of illegal refugees, fleeing Mexico to seek employment during the Great Depression. For him, as with so many of his countrymen, the desire to feed a family soon led to homelessness, isolation and institutionalisation. Martín Ramírez was never to see his wife and children again.

Instead, the artist began to draw impossible architectures, swirling landscapes and heroic pioneers. His homeland evolved into an abstracted dreamworld of border crossings, elongated horizons and deconstructed tunnels. Caballeros, male and female, towered over vertiginous hilltops, unable to stop the high-speed trains and vehicles hurtling by. Yet this was a man with no formal art training. The scale and effortless complexity was astonishing.

It was Tarmo Pasto, a local art educator, who brought Ramírez’s interior geographies into cultural society. He encouraged the artist during his lifetime, bringing materials to the humble hospital studio and introduced his draughtsmanship to artists like Wayne Thiebaud and Jim Nutt.

Since then, Ramírez has enjoyed retrospectives at Centro Cultural Arte Contemporáneo, Mexico City (1989) and Museo Nacional Centro de Arte Reina Sofía, Madrid (2010), curated by Smithsonian director Lynne Cooke. He is a key artist in Kasper KÖNIG's seminal The Shadow of the Avant-Garde at the Museum Folkwang, Essen (2015) and will also be seen at The Metropolitan Museum, NYC and LACMA, LA in 2017.

The Gallery of Everything is proud to present a series of masterworks by this highly regarded art-ist, sourced in collaboration with the Ramírez estate. This inaugural UK exhibition also features the largest work ever created by the artist, which is intended for museum collections only.

Literature

CATALOGUE OF EVERYTHING #6, THE MUSEUM OF EVERYTHING 2016

MARTIÍN RAMÍREZ, VÍCTOR ESPINOSA (UNIVERSITY OF TEXAS PRESS) 2015

AMERICAN FOLK ART: A REGIONAL REFERENCE, KRISTIN CONGDON AND KARA KELLEY HALLMARK (ABC-CLIO) MARCH 2012

MARTIÍN RAMÍREZ: REFRAMING CONFINEMENT, LYNNE COOKE (PRESTEL) 2010

EVERYTHING #1, THE MUSEUM OF EVERYTHING
(ELECTA) 2010

MARTIÍN RAMÍREZ: THE LAST WORKS, RICHARD RODRIGUEZ AND WAYNE THIEBAUD (POMEGRANATE COMMUNICATIONS) 2008

MARTIÍN RAMÍREZ – EXHIBITION CATALOG, BROOKE DAVIS ANDERSON, FOREWORD BY MARIA ANN CONELLI AND INTRODUCTION BY ROBERT STORR (MARQUAND BOOKS) 2007

AMERICAN ANTHEM, BROOK DAVIS ANDERSON (HARRY ABRAMS) 2001

MARTIN RAMIREZ: PINTOR MEXICANO, ELSA WEINER (FUNDACION CULTURAL TELEVISA) 1989

THE PROBLEM OF MARTIÍN RAMÍREZ, MICHAEL HALL (THE CLARION) 1986

A CHILD’S COMFORT, BRUCE JOHNSON (MUSEUM OF AMERICAN FOLK ART) 1977





 

Exhibitions

Exhibition #6, The Museum of Everything (Rotterdam) 2016

The Shadow of the Avant-Garde, Museum Folkwang (Essen) 2015

Top Drawer, High Museum of Art (Atlanta) 2014

Great and Mighty Things, Philadelphia Museum of Art 2013

Exhibition #1.1, The Museum of Everything, Chalet Society (Paris) 2012-13

Accidental Genius, Milwaukee Art Museum 2012

Martín Ramírez: Reframing Confinement, Reina Sofía (Madrid) 2010

Exhibition #1, The Museum of Everything 
(London) 2009

Martín Ramírez: The Last Works, AFAM (NYC) 2008

Martín Ramírez, San Jose Museum of Art + Milwaukee Art Museum 2007

Inner Worlds Outside, La Caixa (Madrid) + Whitechapel (London) + IMMA (Dublin) 2006

Dubuffet and Art Brut, Museum Kunstpalast (Düsseldorf) + LaM (Lille) 2005

Parallel Visions, LACMA (Los Angeles) + Reina Sofía (Madrid) + Kunsthalle (Basel) 1992

Martín Ramírez: Pintor Mexicano, Centro Cultural/Arte Contemporáneo (Mexico
City) 1989

The Heart of Creation, Moore College (Philadelphia) + Milwaukee Art Museum 1985

CARLO ZINELLI
1916-1979 (ITALY)

Zinelli created over 2,000 works, each of them extremely intuitive and sophisticated: from simple forms reminiscent of late Matisse, to lettering and sounds which fill his work with all its urgency. 
Paolo Colombo, MAXXI (Rome) 

Biography
Championed by legendary French artist Jean Dubuffet, Carlo Zinelli is a master of art brut whose oeuvre was inspired by his personal experiences of conflict.

Born in San Giovanni Lupatoto, near Verona, Zinelli spent his early years working on the land as a farm labourer and living peacefully with his family. At the age of eighteen, he enlisted to fight in the Spanish Civil War, where he endured severe shell shock on the front line and returned unable to speak or recount in any way the horrors, which he had experienced.

In 1947 Zinelli’s family suggested he move to accommodation at a hospital in San Giacomo, near Verona. An art studio located on the grounds encouraged patients to draw, paint and sculpt. Zinelli lobbied to be included and, once accepted, dedicated his life to painting.

Working for up to eight hours every day, Zinelli began to create a bold individualistic body of work. Impressionistic recreations of the landscapes and characters of his youth were set against the brutal backdrop of war.

Memories of the countryside and travelling circuses were presented within frames of swirling repetitive text, echoing Zinelli’s own faltering speech patterns. It was as if the man himself had become a symbol of his own disaster.

Zinelli’s distinctive double-sided works were brought to the attention of Jean Dubuffet, who crowned Zinelli a master of the genre and, inspired by Zinelli’s free-spirited autobiographical gouaches, incorporated the unknown Italian’s aesthetic into his own prolific oeuvre. Zinelli’s work was soon being included in private and museum collections across Europe and America.

When the San Giacomo Hospital closed in 1971, the 55-year-old Zinelli was transferred to a new institution where he was no longer able to continue his daily art practice. He died in 1974.

Literature

CATALOGUE OF EVERYTHING #6, THE MUSEUM OF EVERYTHING 2016

La folie de l’art brut, Roxana Azimi (Éditions Séguier) 2014 


Borderline, Artisti tra normalista e follia, Gabriele Mazotta, Museo d'Arte della citta di Ravenna 2013

Carlo Zinelli, The Museum of Everything 2013

Collection de l’Art Brut, Lucienne Peiry, Collection de l'Art Brut (Skira-
Flammarion) 2012

EVERYTHING #1, The Museum of Everything 
(Electa) 2010

Outsider Art, From the Margins to the Marketplace, David Maclagan (Reaktion
books) 2009

Inner worlds outside, Fondacion 'la Caixa', Irish Museum of Modern Art (Whitechapel
Gallery) 2006

L'Art brut, L'Instinct créateur, Laurent Danchin (Découverte Gallimard) 2006

Dubuffet & Art Brut, Lucienne Peiry (5 Continents Editions & Museum Kunst Palast) 2005

Carlo Zinelli (Somogy Editions d’art) 2003

Vernacular Visionaries: International Outsider Art, Annie Carlano (Yale University Press) 2003

L'Art Outsider, Art brut et création hors normes au XXe siecle (Thames & Hudson) 2001

Self-Taught and Outsider Art (University of Illinois Press) 2011

Art Brut, collection de L'Aracine, Musée d'Art Moderne, 1997

Carlo: Tempere, Collages, Sculpture, 1957-1974, Museo di Castelvecchio Vérone 1992

Catalogue de la collection de l'art brut, publications de la collection de l'Art
Brut 1971

Exhibitions

Exhibition #6, The Museum of Everything (Rotterdam) 2016

IL PALAZZO DI EVERYTHING, THE MUSEUM EVERYTHING, COLLATERAL EVENT OF THE 55TH VENICE
BIENNIAL 2012

EXHIBITION #1, THE MUSEUM EVERYTHING 
(LONDON + TURIN) 2009/2010

ART, GENIUS AND MADNESS, SANTA MARIA DELLA SCALA MUSEUM COMPLEX, SIENA, MUSEUM OF CONTEMPORARY ART (CHICAGO) 2009

THE FIGURES, THE HISTORIES OF IRREGULAR, NEW NATIONAL MUSEUM OF MONACO, 2006

INNER WORLDS OUTSIDE, WHITECHAPEL GALLERY (LONDON) 2004

CARLO ZINELLI, MUSÉE DES ARTS INTERNATIONAL MODESTES (SÈTE) 2003

IN SEARCH OF LOST MINDS, TRENTO HISTORY MUSEUM, SANTA CLARA CULTURAL SPACE (TRENTO) 2002

VERNACULAR VISIONARIES, THE FOLK ART MUSEUM (SANTA FE) 2002

THE COLOURS OF THE MIND, PALAZZO REALE (MILAN) + IRISH MUSEUM OF MODERN ART (DUBLIN) 1999

ART BRUT, FROM THE UNDERGROUND TO THE CONSECRATION, MUSÉE D’ETENOGRAPHIE
(GENEVA) 1997

THE GINZA ART SPACE (TOKYO) 1994

PARALLEL VISIONS MODERN ARTISTS AND OUTSIDER ART, CENTRO DE ARTE REINA SOFIA (MADRID) 1992

PARALLEL VISIONS MODERN ARTISTS AND OUTSIDER ART, LACMA (LOS ANGELES) 1985

JEAN DUBUFFET AND ART BRUT VENICE, PEGGY GUGGENHEIM COLLECTION (VENICE) 1985

ART BRUT, KUNSTHALLE BERNE 1963

ANNA ZEMÁNKOVÁ
1908-1986 (MORAVIA)

HER DRAWINGS HAVE THE DEPTH AND COMPLEXITY OF STRANGE BIOLOGICAL SPECIMENS,
FOR SHE WAS DRAWING A WONDERFUL HERBARIUM OF THE IMAGINATION.

MASSIMILIANO GIONI, VENICE BIENNALE 2013

Biography
ANNA ZEMÁNKOVÁ
WAS NOT AN ACTRESS LIKE HER COUSIN, NOR AN OPERA SINGER LIKE HER GRAND-DAUGHTER, NOR A SCULPTOR LIKE HER SON. SHE WAS A HUMBLE HOUSEWIFE WITH A PRIVATE MID-LIFE HOBBY. BORN IN MORAVIA IN 1908, ZEMÁNKOVÁ HAD DRAWN AS A GIRL. YET WHAT BEGAN AS A HESITANT REVIVAL OF CREATIVITY, EVENTUALLY BECAME AN ESSENTIAL MEANS TO CHANNEL THE BREADTH, COMPLEXITY AND CONFLICT OF DAILY LIVING. IF ZEMÁNKOVÁ CALLED HER CREATIONS FLOWERS, WHAT THEY CONTAINED WAS MORE COMPLEX THAN THIS SHORTHAND IMPLIED, THEIR BEAUTY BOTH REPELLING AND SEDUCING WITH A POETIC, AUTOMATIC FINALITY.

THROUGHOUT THE 1960S AND 1970S ZEMÁNKOVÁ'S PRACTICE GREW. EVERY DAY BEFORE DAWN, INSPIRED BY JANÁČEK AND BEETHOVEN, SHE CHANNELLED HER ENERGIES INTO A NEAR-DEVOTIONAL CUSTOM, FEARING BLACK, FAVOURING YELLOW, SHE DREW, SHADED AND STITCHED HER BOTANY INTO BEING.

LOCAL EXHIBITIONS INTRODUCED HER TO THE CZECH CREATIVE COMMUNITY. ARTIST JIŘÍ ANDERLE , FILMMAKER JAN ŠVANKMAJER AND PLAYWRIGHT VÁCLAV HAVEL BECAME COLLECTORS. THE MEDIUMISTIC OVERTONES ATTRACTED ARTIST ARNULF RAINER AND THE COLLECTION DE L’ART BRUT IN LAUSANNE. YET FOR MOST OUTSIDE THE EASTERN BLOC, ZEMÁNKOVÁ REMAINED UNKNOWN AND UNSEEN, ACQUIRED ONLY BY THE SELECT FEW.

EVERYTHING CHANGED IN 2011 WHEN CURATOR MASSIMILIANO GIONI FEATURED ZEMÁNKOVÁ IN OSTALGIA AT THE NEW MUSEUM IN NEW YORK. IN 2013 HE INSTALLED OVER A DOZEN WORKS ON PAPER IN THEIR OWN GALLERY AS PART OF THE ENCYCLOPAEDIC PALACE AT THE 55TH VENICE BIENNALE, FINAL PROOF OF HIS BELIEF IN ZEMÁNKOVÁ AS AN IMPORTANT HISTORIC ARTIST.

IT IS NO COINCIDENCE THAT ANNA ZEMÁNKOVÁ REMINDS US OF THE PIONEERS OF 20TH CENTURY WOMEN’S ART. THE GHOSTS LOOM LARGE, BE THEY GEORGIA O’KEEFE AND LOUISE BOURGEOIS, OR DOROTHEA TANNING AND UNICA ZÜRN. SUCH COMPARISONS REMIND US THAT THIS GIFTED MAKER, BORN IN ANOTHER TIME AND PLACE, REMAINED SECRET WHILE HER PEERS DID NOT, HER INVISIBILITY A SHIELD WHICH ENABLED AN URGENT AND EXPANSIVE PRACTICE TO FLOURISH, UNINTERRUPTED BY THE DEMANDS OF ART.

TODAY, CRITICS DESCRIBE ZEMÁNKOVÁ‘S WORK AS AN ILLUSTRATED INNER LIFE, REPLETE WITH PSYCHIC SYMBOLS AND EROTIC METAPHORS. YET FOR THE ARTIST HERSELF, THE TRUTH WAS AS SIMPLE AS IT WAS PROFOUND:

I SEE SOMETHING, A SORT OF DEEP FEELING INSIDE, IT STAYS WITH ME AND LATER, I PUT IT ONTO PAPER.
ANNA ZEMÁNKOVÁ
Artist, 1980

Literature

CATALOGUE OF EVERYTHING #6, THE MUSEUM OF EVERYTHING 2016

GROUNDWATERS: A CENTURY OF ART BY SELF-TAUGHT & OUTSIDER ARTISTS, CHARLES RUSSEL (PRESTEL) 2011

EVERYTHING #1, THE MUSEUM OF EVERYTHING
(ELECTA) 2010

SELF-TAUGHT AND OUTSIDER ART, ANTHONY PETULLO, (UNIVERSITY OF ILLINOIS PRESS) 2005

L’ART BRUT, L’ART OUTSIDER ET AU-DELA, JOHN MAIZELS (PHAIDON) 2003

VERNACULAR VISIONARIES, ANNIE CARLANO AND JOHN BEARDSLEY (YALE UNIVERSITY PRESS) 2003

L’ART BRUT TCHEQUE, MARTINE LUSARDY AND ALENA NADVORNIKOVA (HALLE SAINT PIERRE) 2002

ARTISTS OF PURE HEART, ED. BY ANEZKA SIMKOVA (PAVEL KONECNY COLLECTION) 2001

OUTSIDER ART: SPONTANEOUS ALTERNATIVES, COLIN RHODES (THAMES & HUDSON) 2001

ART BRUT ET COMPAGNIE, LAURENT DANCHIN (HALLE SAINT PIERRE) 1995

Exhibitions

Exhibition #6, The Museum of Everything (Rotterdam) 2016

IL PALAZZO ENCICLOPEDICO, LA BIENNALE DI VENEZIA (VENICE) 2013

EXHIBITION #1.1, THE MUSEUM OF EVERYTHING, CHALET SOCIETY (PARIS) 2012/13

OSTALGIA, NEW MUSEUM (NEW YORK) 2011

EXHIBITION #1, THE MUSEUM OF EVERYTHING 
(LONDON) 2009/10

INNER WORLDS OUTSIDE, WHITECHAPEL GALLERY (LONDON) 2006

ART UNSOLVED, IRISH MUSEUM OF MODERN ART (DUBLIN) 1998

EXOTIC SPECIES: THE ART OF ANNA ZEMÁNKOVÁ, HIGH MUSEUM OF ART (ATLANTA) 1997

COLECTIE ARNULF RAINER MUSEUM DE STADSHOF (ZWOLLE) 1996

SÃO PAULO BIENNALE 1981

OUTSIDERS, HAYWARD GALLERY (LONDON) 1979

WILLIAM EDMONDSON
1874-1951 (USA)

Edmondson has chosen to work in limestone, which he attacks with extraordinary courage and directness. The spirit of his work does not betray the inspiration he believes to be his active guide.
Alfred H Barr Jr, MoMA

Biography
EXHIBITED AT THE MUSEUM OF MODERN ART IN 1937, WILLIAM EDMONSON IS WIDELY ACKNOWLEDGED AS THE FIRST AND MOST IMPORTANT MODERN AFRICAN AMERICAN SCULPTOR OF THE 20TH CENTURY.

THE SON OF EMANCIPATED SLAVES, EDMONDSON GREW UP IN THE RURAL GHETTO OF DAVIDSON COUNTY, TENNESSEE. HE ASSUMED THE NAME OF THE OWNER OF THE FARM TO WHICH HIS PARENTS HAD BELONGED AND, WITH LITTLE FORMAL EDUCATION, DRIFTED THROUGH MENIAL LABOUR FOR MUCH OF HIS WORKING LIFE.

IN THE 1930S EDMONDSON JOINED THE UNITED PRIMITIVE BAPTIST CHURCH, WHERE A DIVINE CALLING INSTRUCTED HIM TO COMMENCE A SCULPTURAL PRACTICE. EDMONDSON’S CONVERSION WAS IMMEDIATE. WITHIN WEEKS HE HAD CREATED AN OPEN-AIR STUDIO IN THE CHURCH CEMETERY AND, USING A HAMMER AND RAILROAD SPIKE, BEGAN TO CARVE TOMBSTONES FROM OFF-CUTS OF LOCALLY MINED LIMESTONE.

THE ORGANIC MATERIAL BECAME EDMONDSON’S MEDIUM OF CHOICE. ELEGANTLY TEXTED GRAVE-MARKERS GRADUATED TO POWERFUL FIGURATIVE HUMAN AND ANIMAL FORMS. YET EDMONDSON, BY NOW IN HIS LATE 50S, NEVER CONSIDERED HIS WORKS ART. THEY WERE MIRACLES, CREATED THROUGH HIM, NOT BY HIM, AND HE HUMBLY DISPLAYED THEM IN THE FRONT YARD WHERE HE MADE A LIVING SELLING FRUIT AND VEGETABLES.

IT WAS ETHNOGRAPHIC NASHVILLE COLLECTOR, SIDNEY HIRSCH, WHO DISCOVERED THE ARTIST AND INTRODUCED HIM TO HARPERS BAZAAR PHOTOGRAPHER, LOUISE DAHL-WOLFE. WHEN CURATOR THOMAS MABRY SAW HER IMPOSING STUDIES OF EDMONDSON IN HIS STUDIO, HE SHOWED THEM TO ALFRED BARR, DIRECTOR OF THE MUSEUM OF MODERN ART IN NEW YORK. THEIR REACTION WAS SWIFT, AFFIRMATIVE AND RADICAL.

ALTHOUGH HE HAD RECEIVED NO FORMAL ARTISTIC TRAINING AND WAS BARELY ABLE TO READ OR WRITE, EDMONDSON OPENED HIS FIRST SOLO SHOW AT THE MUSEUM OF MODERN ART IN 1937. CRITICS CELEBRATED HIS MONUMENTAL BIBLICAL AND AFRICAN AMERICAN ICONS AND MODERNIST PORTRAYALS OF THE ANIMAL KINGDOM. HE WAS EXHIBITED AT JEU DE PAUME IN PARIS IN AND PHOTOGRAPHED BY EDWARD WESTON.

EDMONDSON’S PRACTICE CONTINUED UNTIL HE RETIRED AT THE AGE OF 75. HE DIED JUST TWO YEARS LATER. HIS EARLY CARVINGS STILL STAND IN THE MOUNT ARARAT CEMETERY IN NASHVILLE. HIS REMAINING WORKS ARE HIGHLY SOUGHT AFTER AND CAN BE FOUND IN MAJOR MUSEUMS AND PRIVATE COLLECTIONS WORLDWIDE.

Literature

CATALOGUE OF EVERYTHING #6, THE MUSEUM OF EVERYTHING 2016

The Shadow of the Avant-Garde, Falk Wolf and Kasper König (Museum Folkwang) 2015

Free Within Ourselves: African-American Artists in the Collection of the National Museum of American Art, Regenia Perry (Smithsonian Institution) 1992

Made with Passion: The Hemphill Folk Art Collection, Lynda Roscoe Hartigan (Smithsonian Institution) 1990

Black Folk Art in America, 1930-1980, Jane Livingston and John Beardsley (University of Mississippi) 1982

William Edmondson: A Retrospective, Georgeanne Fletcher and Jym Knight (Tennessee Arts Commission) 1981

"Edmondson's Art Reflects His Faith, Strong and Pure", Louise LeQuire (Smithsonian Magazine) Aug 1981

Vision in Stone: The Sculpture of William Edmondson, Edmund Fuller (University of Pittsburgh Press) 1973

Will Edmondson's Mirkels, Harry Lowe, Carl Zibart, and Walter Sharp (Tennessee Fine Arts Center at Cheekwood) 1964

William Edmondson: Visions in Stone, Ann Rogerson (Montclair Art Museum) 1975

Exhibitions

Exhibition #6, The Museum of Everything (Rotterdam) 2016

THE MENNELLO MUSEUM OF AMERICAN FOLK ART (ORLANDO) 2001

THE HIGH MUSEUM OF ART (ATLANTA) 2001

WILLIAM EDMONDSON: A RETROSPECTIVE, TENNESSEE STATE MUSEUM (NASHVILLE) 1981

WILLIAM EDMONDSON: VISIONS IN STONE, MONTCLAIR ART MUSEUM 1975

LAJOLLA MUSEUM OF CONTEMPORARY ART 1970

FOLK CARVINGS BY WILL EDMONDSON, MUSEUM OF EARLY AMERICAN FOLK ARTS (NOW MUSEUM OF AMERICAN FOLK ART) (NEW YORK) 1965

WILL EDMONDSON’S MIRKELS, CHEEKWOOD MUSEUM OF ART (NASHVILLE) 1964

WILLIAM EDMONDSON, NASHVILLE ARTISTS GUILD 1951

SCULPTURE BY WILLIAM EDMONDSON, MUSEUM OF MODERN ART (NEW YORK) 1937

ACM 
b 1951 (France)

LEAN FORWARD AND ENTER A MINIATURE, MOLDERING WORLD [WHERE] EACH PIECE CASTS ITS SPELL.
ROBERTA SMITH, NEW YORK TIMES

Biography
WITH A CAREER SPANNING THIRTY YEARS, ACM IS THE ACRONYM OF THE MYTHIC AND RECLUSIVE FRENCH SCULPTOR, WHOSE INTRICATE ARCHITECTURES HAVE LONG BEEN PRIZED BY A SELECT GROUP OF COLLECTORS AND MUSEUMS.

ORIGINALLY TRAINED AS A FINE ARTIST, ACM QUIT HIS STUDIES TO FOLLOW THE PHILOSOPHICAL ROOTS OF HIS PRACTICE. TOGETHER WITH HIS WIFE, WHO HE SUBSEQUENTLY INCORPORATED INTO HIS CREATIVE IDENTITY, THE ARTIST SETTLED IN THE REMOTE VILLAGE OF HIS CHILDHOOD, CONSTRUCTING A HOME AND STUDIO FROM THE RUINS OF HIS FATHER’S WAREHOUSE, AND EMBARKING ON WHAT WAS TO BECOME A HISTORY OF ACCUMULATION AND RECONFIGURATION.

FORAGING IN THE FOREST FOR NATURAL MATERIALS, ACM BEGAN TO WHITTLE PIECES OF CHALK, CONVERTING THEM INTO FLOORBOARD-MOUNTED ASSEMBLIES AND IMAGINED ARCHAEOLOGIES. HIS INVESTIGATIONS INTO THESE FICTIONAL PASTS LED TO A LIFELONG FASCINATION WITH THE DISCARDED AND THE FORGOTTEN, AS FOUND OBJECTS AND THE GUTS OF DEFUNCT TYPEWRITERS, TELEPHONES, RADIOS AND CLOCKS WERE OFFERED THE CHANCE OF LIFE ANEW.

THE RESULTS WERE ASTONISHING. RECYCLED COMMUNICATION TOOLS EXPERIENCED TOTAL METAMORPHOSIS AS ACM’S HANDS TRANSFORMED THEM INTO DIZZYING MULTI-PART CONSTRUCTIONS, WHERE ELABORATE TOWERS AND PRICKLY ALLEYWAYS RECALLED TEMPLES OF LONG-FORGOTTEN CIVILISATIONS AND JUNGLES OF FLAMBOYANT ORNITHOLOGIES.

ACM MODESTLY DESCRIBED THEM AS BOULOTS [JOBS], BUT THEY WERE CLEARLY SOMETHING MORE. AFTER THEY CAUGHT THE ATTENTION OF MADELEINE LOMMEL OF LA COLLECTION DE L’ARACINE , THE HITHERTO UNKNOWN ARTIST HAD HIS WORK ACQUIRED BY THE LILLE METROPOLE MUSEUM AT VILLENEUVE D’ASQUE, WHO THEN COMMISSIONED HIM TO CREATE A MAJOR INSTALLATION FOR THE INSTITUTION.

ACM’S BOULOTS WERE SOON BEING SOUGHT AFTER BY ART BRUT AND CONTEMPORARY COLLECTORS ALIKE, INCLUDING ANTOINE DE GALBERT OF MAISON ROUGE, WHO BECAME A VOCAL CHAMPION OF THE ARTIST. YET IT WAS A PARTIAL RETROSPECTIVE AT MARC OLIVIER WAHLER’S CHALET SOCIETY IN PARIS WHICH FINALLY GAVE ACM INTERNATIONAL VISIBILITY.

POURQUOI LES MACHINES? J’PEUX PAS NON PLUS, J’PEUX PAS VOUS L’DIRE!"
[WHY DO I MAKE MACHINES? I CAN’T TELL YOU; I DON’T KNOW WHAT TO SAY!]
ACM
Artist, 2011

Literature

CATALOGUE OF EVERYTHING #6, THE MUSEUM OF EVERYTHING 2016

WORLD TRANSFORMERS: THE ART OF THE OUTSIDERS, ED. BY MARTINA WEINHART AND MAX HOLLEIN (HATJE CANTZ) 2011

EVERYTHING #1, THE MUSEUM OF EVERYTHING
(ELECTA) 2010

ACM, ED. BY JEAN-PIERRE,TEXTS, CORINNE MARIÉ AND THOMAS RÖSKE (J.P. RITSCH-FISCH GALERIE) 2007

UNIVERS CACHES, L’ART OUTSIDER AU MUSEE DR GUISLAIN, ED. LANNOO (MUSEUM DR GUISLAIN) 2007

DUBUFFET & L’ART BRUT, SAVINE FAUPIN, FRANÇOIS GIBAULT, SARAHLOMBARDI, JEAN-HUBERT MARTIN, LUCIENNE PEIRY, THOMAS RÖSKE ET MICHEL THEVOZ, COLLECTION DE L’ART BRUT MILAN/LAUSANNE 2005

ACM, ARTIST, COLLECTOR, ARCHAEOLOGIST, BARBARA SAFAROVA (SCHIRN MAGAZINE) AUGUST 6TH 2013

ACM, MANSARAY, RIGO 23 AND VOLYAZLOVSKY, ROBERTA SMITH (THE NEW YORK TIMES) AUGUST 20TH 2010

VISIONARIES IN A BUBBLE, SAFE FROM CONVENTION, KEN JOHNSON (THE NEW YORK TIMES) 25 JAN 2008

UNTAMED ART FROM THE FRINGES IS A GUST OF BRACING AIR, ROBERTA SMITH (THE NEW YORK TIMES) 28 JAN 2005

ACM: ARCHITECTE DU VIDE, CHEMAMA-STEINER, BEATRICE (CREATION FRANCHE, NO. 17) JUNE 1999

LES CITADELLES D’UNE AME, JEAN-LOUIS LANOUX (CREATION FRANCHE, NO. 17) JUNE 1999

Exhibitions

Exhibition #6, The Museum of Everything (Rotterdam) 2016

INNER JOURNEYS, MAISON PARTICULIÈRE ASBL (BRUSSELS) 2013

EXHIBITION #1.1, THE MUSEUM OF EVERYTHING, CHALET SOCIETY (PARIS) 2012/13

AINSI SOIT-IL, COLLECTION ANTOINE DE GALBERT - EXTRAITS, MUSÉE DES BEAUX-ARTS DE LYON, 2011/12

AMERICAN VISIONARY ART MUSEUM, (BALTIMORE) 2011

WORLD TRANSFORMERS, SCHIRN KUNSTHALLE (FRANKFURT) 2010

EXHIBITION #1, THE MUSEUM OF EVERYTHING 
(LONDON) 2009/10

IM RAUSCH DER KUNST, MUSEUM KUNSTPALAST (DÜSSELDORF) 2005

PAVILLON DES ARTS, PARIS / ABCD, UNE COLLECTION D’ART BRUT (PARIS) 2004

LES CHEMINS DE L’ART BRUT, LILLE METROPOLE MUSEE D’ART (LILLE) 2003

LA PLANÈTE EXILÉE: ART BRUT ET VISION DU MONDE, LILLE METROPOLE MUSEE D’ART (LILLE) 2001

DE STADSHOF MUSEUM (ZWOLLE) 1999

COLLECTION DE L’ARACINE, LILLE METROPOLE MUSEE D’ART (LILLE) 1997